"Contains one track: Orange-Time-Shock-Format-Wave-Re-Composition (Remix for Voice Crack). The first and till now the only collaboration between extreme computer music artists Russell Haswell & Florian Hecker. Possibly the first record to sound very similar when played on either 33 or 45 rpm, or in fact, any speed! Edition of 500."

Collaborative smash-up between two Vienna-based electronic and improv masters. dieb13 vs. Takeshi Fumimoto is the product of two unequal characters redefining the relationship between computer and turntables, between digital and analogue electronics. Takeshi Fumimoto means turntable improvisation at its best: he works up various vinyl records, all of them featuring turntables or vinyl music themselves, mashed to a 16-minute piece showing the essence and sonic possibilities of today's experimental turntable music. dieb13 performs the task of breaking in on Fumimoto's work with remixes. Using self-written audio software and focusing on the (often microscopic) structures of Fumimoto's output, he manages to transfer the given sounds into new contexts and cast a surprising light on them. The resulting 31- minutes of music, sectioned in 12 tracks, are seamlessly homogenous, yet rich with variations and surprising twists. dieb13 vs. Takeshi Fumimoto is the result of more than a year of work, and is released as a colorful vinyl picture disc, limited to 500 copies.

"Evol is a computer music duo formed in 1996 by Roc Jiménez de Cisneros and Anna Ramos in Barcelona. Their recordings and performances explore the many sides of digital noise and algorithmic-driven composition. Harsh and bloody trips along the most extreme path of academic music, putting together sonic brutality, crazy algebra, fractal structures and a slight ironic touch. When they are not working on Evol, they are probably playing Playstation, building Lego robots, trying to run their home-imprint Alku, spreading digital Chindogus from imbecil.net or feeding Perkele, the luckiest chinchilla in Europe. Magia Potagia is a document of the work Evol have been doing within the field of algorithmic composition for the past three years. It features three tracks from two different periods, all of them 100% computer-generated and almost no edited at all, to preserve their fractal nature. 'Punani Potagia' is the fourth composition in a series of pieces that started in early 2002, involving a combination of complex Frequency Modulation techniques and strange attractors. Previous tracks of this ongoing series have been released on Fals.ch ('Super Punani'), Scarcelight ('Punani Shell') and Alienation ('Redneck Punani').
'Pus pus pus' and 'Walpurgis' are part of a series of stochastic generative works from 2001. These pieces mark the beginning of Evol's interest for what they call anti-climax tracks, where despite constant nano-changes in pitch, velocity or general structure, there's no relevant variation from beginning to end."

"News from Europe's slowest beefmetal trashgroup. 4 track 12" featuring a Sluta Leta cover in their typical zombie garbage rottenrock style. Hear Ronnie Peterson play the Jew's harp whilst driving backwards in Monte Carlo, or Django Reinhardt at the fountain of youth with his ankles caked in mud. Crawl through the sewage system of dub beneath Marlon Brando babbling in your ear with a heavy nightingale's tongue. And, if you manage to get out of this there'll be a squadron of helicopters waiting to fall on your head one after the other. Abule, Zwabule, Drabule."

Gert-Jan Prins: Electronics AM/FM-Modulations, TV. "With Risk Prins creates a brutal world where electrical breaking points become blasting moments of sharpened sensual attention. Gert-Jan Prins started out as a rock drummer, continued as an improviser, but restarted soldering self-made electronic machines in the mid-90s. His unique self-developed electronic system uses radio- and transmitter technology, and creates strong noises with great physical energy. During the last four years Gert-Jan Prins, living in Amsterdam, established himself as one of the central electronic performers in improvised music. Besides his solo-project, current collaborations include E-RAX (with Lehn, Van Bergen, Dolleman),The Flirts (with Cor Fuhler), MIMEO, and the Vacuum Boys, he played with Lee Ranaldo, Pita, Fennesz, Anne la Berge, Domenico Sciajno, Luc Houtkamp and Misha Mengelberg. What can one write on his music? What feeling is it made with? 'I try to squeeze the self created feedback sound till its on the edge of exploding, but it's also the fascination for the chaotic instinct of my machines, that they create shifting rhythmical patterns, as well as a sound of liquefied rockmusic, the media inherent found fragments of speech/music, and a seemingly acoustic world cooking in between drum-, wind- and stringsounds'."

"Rob Mazurek you ask? Words come by way of response -- words such as Chicago, abstractivist, cornetist, improviser and composer.... even hyphenated words like: multi-media, hard-bop, avant-jazz and dare we say it post-rock. More words of relevance, those which make for identity include: Jim O'Rourke, Stereolab, Tortoise, Gastr del Sol, Brokeback, Pan American, Sam Prekop and even the oh so wordy God Speed You Black Emperor! So many words and we haven't even really started yet... Let's roll on shall we? So, by now we all know this guy has some pedigree, it's true, we knew this already which is why we approached him for this full length. And yes we were most pleased with the results. Sweet and Vicious like Frankenstein is a multi-shifting work. Two tracks comprise. Throughout the journey that is Frankenstein, the considered listener is exposed to a cross section of the audio spectrum: From the small and subtle to more dense, dramatic and fast shifting events. A wide range of acoustic and electronic variables are at play creating a variety of mood's and texture's. Sources range from field recordings (macro + micro), electronics' (ana + digi) and sounds that are simply quite hard to locate/identify. A focus on the obscure within the audio realm seems somewhat intentional. Although abstract in nature, there is certainly emotional intent within Rob's creation, one which build's in momentum and intensity throughout the span of the two track's on offer. A narrative is open for the listener to decipher and as is the nature of this creation repeated listens are rewarded. Compositionally this temperamental little sucker straddle's the line between 'music' and 'sound' -- no philosophical argument's here please. We are making a rash statement for all intents and purposes. And yes we have the nerve to take it for granted that you, dear reader dig -- coolio? We thought so. File under: Frankenstein."

"Ronnie Peterson was the smartest Swedish racing driver ever, the so called 'king of drift'. A man who dominated the F1 scene of the 1970's by style and skill. But this is the year 2003. And this is Sluta Leta. Before we plunge into the present, let's take a quick glance at the past for one last time: Sluta Leta, yes the same Sluta Leta that released digital fried disco 12"s on Mego, Uptight and Cheap, as well as more dazzling rock-ish numbers via Chocolate Industries. All seemed quite rosy for this grand Swedish band, gaining respect in their homeland and abroad, the punters were crying for more, however, in recent years all has been quiet -- so what has been happening? Well as it turns, and yes all will turn my friend, the original members -- Bengt Liljstad, Jonas Bergkvist and later Yngwie Moskowich & Anders Rydberg -- all left the band and were exchanged during recent years by the current band-members: Andi Pieper, Ramon Bauer & Gerhard Potuznik.
So, here we have a new Sluta Leta line up and a brand new record. Their first full length. Quite a succulent mix of rocktronics is on offer here. All is balanced by acoustic rhythms, broken but never detached, warm vocals are sewn throughout, deep keyboard lines provide ecstatic moods. With guest appearances by such legends in their own lifetimes as: Catriona Shaw, Philipp Quehenberger, Anne Laplantine and ddkern. The pleasure's of Ronnie's excess pay off via elements of electro, punk, rock, cabaret and chunky groove. Unlike Mr Peterson's, Sluta Leta's debut full length is a smooth ride from start to finish -- whilst still traversing many difficult hairpin's of the musical grid. For fans of life and all the pleasure's it can bring. Disco." www.mego.at

"'When I was young, I was embarrassed by everything. But now I'm so old that I can't be bothered anymore.' Embarrassed by what, Ostermayer? Lyrics that wallow in explicit sexual content? Or by an unrestrained rage at God and the world that a 47-year-old is supposed to have gotten over by now? Or maybe even by a craving for the sounds of the 'cheap' instruments of your village-tavern social life? When Fritz Ostermayer says 'kitsch', it means 'the craftsmanship of emotionality' which was developed in the Baroque era but continues to survive as a submerged aspect of culture: in the banal hits of the 60s, in the simple three-chord pop song, and not least in the sentimental electronic dramas of the German forests and fields that appear in Kraftwerk ('Ohm Sweet Ohm'), Cluster, and Harmonia, right up to the kitsch-laden pieces of a Schlammpeitziger or Ulrich Schnauss. The point is that certain harmonic progressions and melodic lines can produce specific effects, that euphoria can be a psycho-physiological construct in just the same way that melancholy is, and that a good songwriter can play this keyboard of the emotions just as a highly talented dictator does -- or, for that matter, that terrorist of sentiment, Lars van Trier. 'Two years ago when I performed on a boat in Paris, after the gig a young waitress said to me in charming Frenglish, 'I think, you like the work of Pierre Henry.' When I gladly agreed, she added, 'And you like kitsch as well.' No doubt about that either, I have to admit. 'Then I know which kind of music you are doing -- kitsch concrète.' So, unknown mademoiselle, merci for this wonderful title!'Kistch Concrète also features guest contributions by Martin Siewert, Franz Hautzinger and others."

"Mego is proud to announce the long awaited new Farmersmanual release! Consisting of every locatable live recording and more dating from 1995 until now and beyond on one special hybrid DVD. A versatile archive documenting the live development of one of the most innovative computer based groups of the last 10 years.... etc blahblah." "Farmersmanual's performance was about algorithms and their artifacts. Clicks and textural discontinuities were rampant. The demeanor of the performers was stoic: that of accountants working a spreadsheet program rather than artists expressing themselves. Despite the apparent detachment of the performers, the musical pace was extremely rapid, both in terms of events per second and the speed of textural change. At several points the performance veered towards totally unexpected textures with complete confidence and synchrony among the performers (and in keeping with the straight-faced nature of the performance, no indication that anything unusual had occurred)." -- Eric Lyon. Format: DVD-Video/ROM (Duallayer DVD9, NTSC, Region free). Total running time: 03:21:38:03 (d:h:m:s).

"File under: Acid, Computer Music. 3 audio tracks and 6 locked grooves, 45rpm. Obscure, frenzied zigzag rhombus. Angular audio designed to dismantle perception. Florian Hecker (b. 1975 .DE) is an artist in the fields of computer music. He started making music with computers in 1996. Ever since, he has researched on mobile performance tools taking part in the first wave of Mego related concerts in 1996. This latest 2 track 12" is a fine example of just how far extreme audio has come -- electroacoustic whiplash courtesy of hypertense audio angles and intense digital disorientation. 'Pandämonium 9 Playlist' rides a manic curve with jagged edges, abrupt swoops, metallic bites and wild bass bombs -- an all out war on the senses which leaves the listener simultaneously baffled + energised. 'Stocha Acid Vlook' hijacks the senses in a torrential digital storm. A macabre buzzing drills it's way through sweeping hiss and wailing sheets of sound propel the listener through a violent and furious lysergic 4 mins 30 secs. The bubblegum patch fantasy is dead. This is computer music with attitude. It is not your run of the mill kid with software exercise in audio angst but a whole hearted love affair of the medium in a classical sense and some solid evidence as to where it can be taken in the future, which is right here and now. Lusus naturae -- an unnatural production. An end to audio -- digital decay as ecstatic vision."

"Live decks at Rhiz, Vienna: 05/30/02. 'Patience isn't a virtue!', he says and rather gets drunk and get it done straight with attitude. Very polarizing, even anti-social at times, but the aleph and his suburp homies don't hate you - 'we want to bring you joy and pleasure!!!', they scream. A true disc for those with a short attention span, and for all those who need something to moan about. Starring: Tiefpunk Crew, Schimpfluch-Gruppe International, Good Looking Communists, Costes, Fear Of God (Dave Phillips remix), K2, R. H.Y Yau, Raionbashi. Plus very special guests: Noize Punishment (Rigid Crash records), Mouse (Reverse records), General Dub (Toolbox), Doormouse & Stuntrock (Addict records), Arsedestroyer (Devour). And it's a fucking shape-cd! Chuffed bloody sick."

'You are Massimo right? Your CD 'Hello Dirty' ... ? well, it's the most exciting thing I have ever seen,' she whispered. His hands were starting to shake. 'You don't think this 'Hello Dirty' release is cute?' she asked teasingly. 'A release stops being cute when a girl turns eighteen.' he responded wryly. 'Oh, so you don't want my new Mego release?' he continued to ask, lightly petting the light brown pelt of hair above her puffy lips. 'I want it with all my heart.' 'Then promise me that you will attend all my future shows!' 'The world will end in 29 days.' 'I know, but promise me anyway.' 'Of course you can,' he sank down to sit beside her. 'Thanks,' she said with a smile. She pushed him back, knelt on the floor, and spread his legs. She slid between them and dropped her mouth to a freshly sealed copy of 'Hello Dirty'. He gave a shuddering gasp and fell back against the back of the couch. He watched her beautiful face bobbing up and down on the pristine digital surface. He hadn't seen that in so long. God, how he missed it. She looked up and locked gazes with him, then smiled. Time passed. She methodically bobbed up and down as the world continued outside. Horn's honked, people yelled, laughed, or cried out. Dogs barked and a plane passed overhead. The world continued, unaware that Massimo was unveiling his first full length release. She was very good. Her mouth was so hot and her tongue never stopped moving upon the limited card surface. Most women forgot to use their tongues when they gave Massimo's releases an initial inspection. 'I'm going to be huge,' he said suddenly. 'I know,' she said between licks. She licked the back of the raw disc with her long, agile tongue, then licked her lips and looked up. 'Sapienza - I have decided to buy this, because I'm sure you do not have a promo for me. Am I right?' 'Brutally so.' File under: sex / noise / armageddon."

"Pure's debut full length on Mego continues to explore realms of sinister sonic's and edge of the equation audio initially previewed on the highly regarded End Of Vinyl 3" CD/12" pic disc. As a complete serve the full extent of this world is revealed to be an elaborate exploration -- rich in texture, variation, mood and quality. In some ways this release can be seen as a take on the darker edge of 20th classical / avant garde as seen through a 4th generation raised on industrial/electronic mediums. Comprising of a continuous work and what seems to be minimal process, this is by no means an unfolding minimal record along lines of Alvin Lucier or Elaine Radigue. Changes are more immediately discernable (whilst avoiding noise, distortion or any other 'immediate' tactics). The result is in an unsettling journey throughout an array of balanced elements : looped violins sway amongst ringing tones, a distant police siren adds an element of isolation to washes of dark frequencies. Fragments of suspense guide the listener on a series of subtle subversion's coming together as a dynamic thematic whole. A see-saw of subversive sonic's which make for some prime late night ambience. One could say this is as close to dark ambient as Mego has come, but like all the best Mego releases Pure's is one that questions the exact nature of the genre from which it has sprung whilst incorporating certain signifying elements in an entirely new way." Initial copies come in a trademark Mego cardstock sleeve, later copies will be jewelboxed.

"Showroom Dummies is the latest production from Grenoble based dance company Groupe DACM, which has been received to critical acclaim from dance theatre audiences across France and beyond. In keeping with the radical nature of their works, Peter Rehberg (Pita) was enlisted to provide an electronic soundtrack for this work. It was stated by DACM that the intention of Showroom Dummies was 'to achieve a deliberately hybrid choreography, hence the use of different artistic disciplines such as contemporary dance, the fine arts, theatre, puppets and electronic music, all brought together over a project which opposes body movement and dummies'. Given this and the themes covered being: 'repulsion and erotism relative to appearance and stillness' and 'how one could possibly slide from submission into passive resistance'. The choice of Rehberg was a good one. For those used to the shock and tremble static bursts of Pita's 'Get Out' or even the banging contorted monster ambience of 'Get Down', one may be in for a surprise. This release offers a new perspective to Pita's world. One of more subtle twists and unnerving dynamics. This otherworldly sound world is shaped less on sine-wave bending and more on a development of deep unusual ambience, pulses, fog and static. A ghostly digital aura evoking the open and the empty simultaneously. An existential chilled out recording for the colder moments of the human sphere. Unsettling and engaging -- here lies a fine addition to the abstract canon. A slippery relation to human 'reality' via suggestive repetitive repulsion and glacial construction."

"Debut 12" from Dieter Kern, who amongst other things is the drummer for bands such as Fuckhead, Wipeout, BulBul, Pest and the famous Starter-Combo. Giving his sticks a rest Kern has been busy carving out his unique brand of deep techno groove evident on this startling 4 tracker."

"After his debut LP for Mego in 1999 (17 Songs After Midnight, MEGO 028), we are well happy to announce the good doctors debut in the digital format. Twisted breaks, out of context samples jostle for place on this 16 track disc. A shift towards more song orientation is evident with guest vocal appearances by Gerhard Potuznik (doing a cover version of Soft Cell's 'Youth'), Christian Fuchs and more."

"Siclily based electro-noise fiend delivers a grinding 20 minute session packaged in tasteful artwork designed by Massimo. Some words from the man himself: 1. I was born in Catania, Sicily and I still live there. 2. I play with PC´s (do not ask me why?) running the best os around 'Microsoft Windows'. 3. My 'sound', I don´t know what to call it but I fucking know what to not call it. So please stop using the terms 'power electronics', 'laptop punk', 'glitch and cuts' or 'post-microsound stew'. 4. Yes, I perform live. I will be touring Europe this December and I´m playing out very often."

Reissue of this 2001 release. "Solo debut (discounting, rightly so, the 'Adaptable Man' flexidisc) from OR Records' CEO, after a Merzbow collaboration (Akita/Azuma/Haswell/Sakabira, Ich Schnitt Mich In Den Finger, MEGO 022) and several compilation appearances (remix of Thurston Moore on Lo's Root, remix of Merzbow on the Blast First Scumtron CD). Merzbow comparison(s) aren't that far off really (Pita, on the other hand, can sound JUST like Merzbow). A collection of field recordings, live performances (yalping and all), processed and gutted, presented as a touring catalogue of sorts. Quite rowdy." -- Hrvatski.

"Another mad digital journey through the circuits residing in both the Vienna and Berlin studios, as well as the Czech train in between. General Magic is the recording guise of Mego label co-founders Andreas Pieper and Ramon Bauer. The two of them have been working together since 1988 as visual artists and since 1995 as musicians. In conjunction with Peter Rehberg they made the very first Mego record, the infamous 'Fridge Tracks' 12". Since then Pieper and Bauer have been using the many mistakes of life as source material for new production methods, as evidenced by the skewed electronics and humorous cut-ups of Rechenkonig." Limited stock of this now deleted item.

"Karkowksi studied music in Sweden and the Netherlands, worked at Steim studios and was an active member of The Hafler Trio and Phauss for years. He works actively as a composer of both instrumental music -- he has written among others two pieces for large orchestra, both commissioned and performed by Gothenburg Symphony Orchestra, an opera and several chamber music pieces which were performed by professional ensembles in Sweden, Poland and Germany -- and electro-acoustic media. Besides working as a composer of contemporary music he has been collaborating with several experimental groups/artists such as Blixa Bargeld, Merzbow, Stelarc, Z'ev, John Duncan, Granular Synthesis, John Rose, Digital Primate, Cosmic Trigger, PITT, Mental Hackers, Fleshquartet, Ulf Bilting (etc.) , and has worked on remixing bands like Clock DVA, Blue for Two and Phauss. Since December 1993 he has been an active member of the Sensorband. Karkowski also recently formed the unit Mazk with Masami Akita of Merzbow." Limited stock of this now deleted item.

Repressed jewel-box issue of this 1997 classic -- Fennesz's debut CD! "The music on Hotel Paral.lel resounds with buzzes, humm's, ticks and washes. A pre-digital work, which formed itself around a diverse range of rhythmic, ambient and pop tracks. Hotel varies between intensely personal takes on the techno mould along with the unconventional mix of the noisy and the tender. Here one can witness the creation of the template for which all future 'pop' experiments were to develop. An eternally rewarding excursion into a rich distorted utopia. Who would have thought."

1999 remaster of the first Mego full length (the label name comes from futurologist Herman Kahn: "my eyes glaze over"). Originally released in 1996 in an awkward oversize cardboard sleeve (now reduced to standard card sleeve). "Nine mad tripped (but not hopped) pieces with the additional bonus in shape of (well) a surreal CD ROM, which no one really gets, but nevermind...deeply disturbing and strangely entertaining, Farmers Manual is absolutely some of the most cutting edge experimental techno and sound sculpture to emerge on disc!"

Long delayed (says 1996 but released mid-'98) album, jewel box edition. Great minimal techno, but less click-obsessed abstraction that you might associate with the label. "Gerhard Potuznik is probably best known for his minimal techno grooves that he produces for respected labels such as Cheap and Pomelo. He is also a member of Austrian absurdists Mause and the supergroup Private Lightning Six. For his MEGO debut, he delivers ten excursions of funky to lo-fi electronica dedicated to the cult of driving. Yet another electronic road tribute, you may cry???? Yes, yet another. Take the wheel of the world and drive as they used to say."